If typography is calling attention to itself, it's taking that attention away from what the words are saying.

A lot of times, you design a logo to be timeless, but with something like the Olympics, timelessness is maybe not something you should be going for. Maybe you should be trying to come up with something that will really become associated with a moment in time, a few weeks, that happened, period. Then you look back, think about it and connect it with that time. It may look dated later but it will be still be evocative.

Australia seems to strike a balance between big and small. It's big enough to have that diversity, but not so big that it disintegrates into something that is not connected.

In the US you have New York, San Francisco, Los Angeles, Boston, Miami and dozens of other cities; a few of them have a really strong visual character. But even with those there is just too much space between them and too many people.

Part of maturing as a designer is discovering what you're good at.

There was a time when most people had a choice between two kinds of personal communication, handwriting or using a typewriter. Today, people are invited to choose from a list of (surprisingly exotic) typefaces every time they turn on their computer. I think this has made everyone more aware of the idea that picking a typeface is a conscious choice.

I have a bunch of calendars I used before I went digital. Every once in a while, I'll open up one from 1991 and look at all the names and appointments and things that, at the time, seemed so important. Meetings that I was really worried about, things that I was getting calls four times a day about, and I wonder, "Where did it all go? Where are they now?" It's so strange, everything has disappeared. The only thing that stays behind is the work.